THE UNTITLED
neo-constructivist:

(via Isolation Systems on Behance)
thenightwhisperer:

Today I decided to not put my selfie black and white and show a perhaps, softer side of myself. I’m happy today, and when I’m happy I look 12 (^.^)

thenightwhisperer:

Today I decided to not put my selfie black and white and show a perhaps, softer side of myself. I’m happy today, and when I’m happy I look 12 (^.^)

modistematters:

Tokyo’s Iconic Hotel Okura 

Rumours had been swirling for months and then it came in May, the news all lovers of modern Japanese architecture had feared: the redevelopment of Hotel Okura in Tokyo.

The Okura is an extraordinary testament to a key moment in Japanese design. It was built two years ahead of the Tokyo Olympics in 1964 – with an annexe added in 1973 – by an exceptionally gifted and diverse group that included the architects Yoshiro Taniguchi and Hideo Kosaka, the folk artist Shiko Munakata and the potter Kenkichi Tomimoto. Together they created a unique modern design that referenced the traditional colours, shapes and crafts of Japan.

To register your support for preservation of this architectural gem, please visit savetheokura.com



keyframedaily:

Werner Herzog, born September 5, 1942.

keyframedaily:

Werner Herzog, born September 5, 1942.

design-is-fine:

Aztec calendar stone, cast by Dionisio Abadiano, 1889. Albumen print. Via Getty Open Content

herthemovie:

Her cinematographer Hoyte Van Hoytema talks to HitFix about the many visual references that helped shape the look of Her, including the photography of Japanese artist Rinko Kawauchi:

"We started talking about references, looking at photo books, and it’s kind of a hybrid between being a little bit conceptual and being very theoretical," Van Hoytema says of the developing visual identity of the film. "But at least half of it is being sort of intuitive and going with your own taste."

The DP was particularly inspired by the work of Japanese photographer Rinko Kawauchi, whose 6x6 square photographic studies of very trivial things in life had a compelling texture and a nice sort of palette. “She had a lot of influence, but of course it’s always a collection where you’re sort of trying to define some sort of a taste,” he says. “You’re always trying to explain to somebody else what your taste is, and it’s never like, ‘This photographer tells it exactly.’ It’s always a collection of sources that define it.

"In every project, I sort of find 30 or 40 stills that, in a way, capture one part of this thing that you’re maybe after. And if you’re collaborating with somebody, the other person understands that and those certain elements that are represented there. But you never really know it until you start working and start putting everything together and making concrete images. And then the pictures you create yourself become the reference, and you start learning from them and putting things together from those. It’s a very hybrid, liquid, abstract process for me."